CHORAL SOCIETY'S CONCERT.

New Zealand Herald, Volume XXIV, Issue 7975, 15 June 1887, Page 5

CHORAL SOCIETY'S CONCERT.

A strong chorus and a full band assembled at the Choral Hall last evening for the performance of Handel's great heroic orotorio, "Samson," a work standing in the front rank of the master's creations, the libretto being compiled from Milton's classic tragedy "Samson Agonistes." There was the usual overflowing audience. Unlike " The Messiah," "Samson" belongs to tho epic class of oratorio, with a'strongly individualised dramatis person®, the whole work showing the force, realism, and elevation of Handel's genius at its highest, the chorus being specially massive and dramatic. The performance taken throughout was successful. The chorus was specially noticeable for the steadiness and precision with which they sang the many difficult leads, and florid fugal subjects, and evidenced much training from the conductor, the gradation of tone being well managed as a rule. The orchestral accompaniments, too, showed unusual subjection to the solo parts, with good intonation also. The balance of tone in the chorus waa deficient, however, in the alto voices, but the tenors had unusual power, as had also the soprani, whose highest notes were sometimes somewhat flat. The soloists were rather overweighted with the very heavy and exacting numbers allotted to them ; yet a great amount of attention was paid to careful, intelligent rendition. As a rule the most noticeable defect was a want of power. Mr. Brett, it was announced, was unable to ap--pear, and his solos were taken by Mr. A. Tayler at short notice. Miss Culpan sang the soprano numbers, while Miss Scraggs and Mrs, J. M. Ged-lis shared the arduous alto part of Micah. Samson (tenor), Mr. A. L. Edwards ; Manoah (baritone), Mr. T. Charter, and Harapha (bass), Mr. A. Tayler. completed the remaining roles. Many cuts were made, but with care to preserve the dramatic interest. Mr, Edwards sang the opening recitative " This Day a Solemn Feast to Dagon Held" correctly, and with good intonation, his solo " Total Eclipse'' being also equally effective. His best effort, however, was "Thus when the Sun," allowing for a slight mistako in the tempo towards the conclusion. His voice is of an agreeable timbre, though lacking power slightly. Miss Scraggs' solo " Return, O God of Hosts." was one of the most meritorious efforts among the soloists. She showed evident sympathy with the composer's intention, and expressed much of the deep pathos and mingled devotional supplication of this example of Handel's sublime treatment of such feelings. Her recitative numbers were also sympathetic, —the intonation a shade inadequate on two or three occasions, however. Miss Culpan sang Dalila's air, " With Plaintive Note, appreciatively. Her vocalisation showed careful study, but her own ornamental additions might have been dispensed with. "Lot the Bright Seraphim" was given by her with moro than her usual power,— altogether one of the best solos heard at the Choral Hall for some time, the florid passages being neatly executed and excellently phrased. The trumpet obligato, played by Mr. Veal, was also uncommonly successful, being very carefully toned down. The chief features of the performance, however, were the choruses of Israelites and Philistines "Fixed in His Everlasting Seat, the power and brilliancy of the runs being very fine. "With Thunder Armed," with its difficult accompaniment, was also an excellent number, the change in the tempo on the words "O Save lis," being particularly well given. " Awake the Irumpets' Lofty Sound " was also brilliant and effective. " O First Created Beam," and " Then Shall They Know," were solidly and correctly rendered, and " Round About the Starry Throne," was one of the most successful. "To Dust His Glory They Would Tread" was impressive. The sopranos spoilt the rendering of " Hear Jacob's God," by a tendency to sharpness. The tenors and basses lost their leads in " Hear Os Our God," but recovered in the next few bars. " Weep, Israel, Weep " was somewhat unevenly rendered, but justice was done to the magnificent final chorus, " Let Their Celestial Concerts all Unite," given with a groat body of tone. The solos in the part of Manoah, sung by Mr. Charter, though the part is written for a baritone, aud that gentleman's voice is a bass, were creditably sung, the transposition of the highest passages scarcely detracting from the original effect. " Thy Glorious Deeds," which though deficient in intonation, was flexibly rendered. "How Willing My Paternal Love" was more perfectly intoned, and acceptable in all respects. Mr. Tayler made a success in the famous recitative and air, " Honour and Arms," giving the boastful sentiments in dramatic style. Greater flexibility would have added fire to the rendition. Mrs. Geddis sang her portions of Micah's music very sympathetically, her enunciation being admirably distinct. "The Holy One of Israel " and " Ye Sons of Israel " were her best items. The recitatives were very judiciously accompanied for the most part on the organ by Miss Harding.